THE STANFORD ARTS REVIEW

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Perspectives Art

dancing on the cusp of insanity: a review of Next To Normal

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by BOJAN SRB

It’s heartwrenching. Never doubt: it’s heartwrenching. No show I have seen in my two years at Stanford heaves with as much aesthetically mobilized darkness as Ram’s Head and the Stanford Theatre Lab’s production of Next to Normal, which opened on Thursday at the Elliot Programing Center.

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acting games and intimacy: an interview with patty hamilton of the FREEKS

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by KELSEY DAYTON

When the FREEKS production of Annie Baker’s “Circle Mirror Transformation” opens today, director Patty Hamilton expects it to hit close to home— both because of the content of the play itself and the way in which the cast and crew have spent the past month rehearsing.

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slapstick, subtlety, and sexual innuendo: a review of Picasso at the Lapin Agile

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by KATIE SALMON

Roble Theater has been transformed into a turn of the century Parisian café for the production of Steve Martin’s comedy Picasso at the Lapin Agile, directed by Max Walker-Silverman and produced by Safiya Nygaard. Let me set the scene: two guitar players strummed at one of the small tables, which were grouped in front of the bar and extended almost to the first row of the audience.  On the chalkboard menu were items like Marion Cote-de-lard.  The bar tender, Freddy (Sebastian Sanchez-Luege), came down and asked if I wanted some wine.  It could, I decided, only get better from here.

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out of limitation comes innovation: the fantasticks at stanford

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by SOPHIA LAURENZI

Despite the lack of resources, talent, and men in my friends’ eighth grade homemade Taylor Swift music videos, we managed to use baseball hats and scarves from around the house to create a detailed, if not high-quality, project—and a makeshift boyfriend character. These kinds of childhood projects come from a pure desire for creativity, camaraderie, and fun, a desire that often gets overshadowed as prestige, competition, and resumes begin to take center stage. But the cast and crew of The Fantasticks rediscovered that delightful attitude toward creative endeavors in a production—a production that, in the words of producer Jenny Barin, “had a lot of heart involved”.

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you’re a drinker and i’m childless, or: a review of ‘cat on a hot tin roof’

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by LAWRENCE NEIL

The stage is a runway, a railroad track set about twice as long as it is wide and divided by an off-centered bed with red and brown sheets. The stage is bookended by hints of backdrop, two pop-up walls with mustard yellow base and red floral print: one belonging to Brick, with a television set, record player, and liquor cabinet, the other Maggie’s, with perfumes and two mirrors.  The audiences on either side face each other.

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Profiles of the Stanford Artist: ‘My Fair Lady’s’ Ken Savage and Asia Chiao, at any cost

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by SILVIANA ILCUS

Ken Savage is the director of the Asian American Theater Project’s show My Fair Lady at Bing Concert Hall. Asia Chiao is the costume designer.  They recently sat down with SAR’s Silviana Ilcus to discuss the narrative and design of their recent production.

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reinventing ethnic narratives: A Review of ‘My Fair Lady’

by BOJAN SRB

I did not ask for identity politics. I showed up at the dress rehearsal for My Fair Lady at Stanford’s Memorial Auditorium expecting a young actress to show me what she could do with her vibrato. Instead, director Ken Savage’s production exploded from the stage and captured my mind and soul, awakening within me an aptitude for acute recognition.

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a showcase for aesthetic diversity: a review of The Original Winter One Acts

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by BOJAN SRB

Sacrifices to the founder of Pantera, mile-high copulation, quirky office romances, and Mr. Alligator-induced dialogue all abound in Ram’s Head’s Original Winter One Acts, playing January 16-18 at Stanford’s Pigott Theater. To say that OWOA has no underlying theme this year would be a sordid understatement. But don’t worry – as is often the case in the art of combination, a loss in thematic uniformity is a showcase for aesthetic diversity. To my eyes, OWOA shows exactly this: how many directions a Stanford one-act can take.

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Hope I’m Not Bothering You By Sitting Here, Honey: a review of ‘Violet: The Musical’

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by KATIE STRAUB

“You folks boarding Bus 322 to Memphis?” a boy in an old-looking bus driver’s costume shouted, striding confidently through and past our group of thirty-or-so theatergoers waiting outside MemAud, waving us to follow.

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Sunny, Steel Wool, and a Psychiatrist: a review of ‘Attempts on Her Life’

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by HANNA TYSON

One might wonder: what is the plot of a play without a plot?  Ideas?  Youth.  Terrorism.   Pornography.  Pseudoegalitarianism.  Abstraction! 

Confusion?  Good.

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